The song is written in the key of A major. The structure of the composition is in an expanded variation of the AABA pop song format, with eight bars of verse and eight bars of chorus forming the A section, and a nine-bar primary bridge forming the B section.[14] The sustained A chord over the verses creates an implied drone common in Indian music[15] and supports a melody that author Ian MacDonald terms "raga-like".[16]

The song's coda features a change of tempo.[17] In the view of musicologist Walter Everett, the latter section marks a progression on previous Beatles songs that similarly revisit aspects of a composition when ending with a coda. In the case of "Ticket to Ride", the section consists of a repeated refrain similar to the last line of the chorus ("My baby don't care"), played over a constant A major chord and set to the double-time rhythm used in the bridge.[18] Lennon said this closing section was one of his "favourite bits" in the song.[19] He also claimed that "Ticket to Ride" was the first heavy metal record ever made.[14] According to MacDonald, the track's heavy sound may have been influenced by Lennon and George Harrison's first encounter with LSD, the precise date for which varies among Beatles biographers.[20] Author Simon Philo calls the song "avant-garde masquerading as pop".[21]

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While the lyrics describe a girl "riding out of the life of the narrator",[22] the inspiration of the title phrase is unclear,[6] as is the meaning of the song.[23][24] McCartney said the title referred to "a British Railways ticket to the town of Ryde on the Isle of Wight",[13] and Lennon said it described cards indicating a clean bill of health carried by Hamburg prostitutes in the 1960s.[22] The Beatles played in Hamburg early in their musical career, and a "ride" was British slang for having sex.[23] Gaby Whitehill and Andrew Trendall of Gigwise have interpreted the song to be about a woman leaving her boyfriend to become a prostitute.[25]

It was [a] slightly new sound at the time, because it was pretty fuckin' heavy for then. If you go and look in the charts for what other music people were making, and you hear it now, it doesn't sound too bad. It's all happening, it's a heavy record.[26]

The Beatles recorded "Ticket to Ride" on 15 February 1965 at EMI Studios in London.[27] It was the band's first recording session since completing the Beatles for Sale album on 26 October 1964,[28] after which they had toured the UK and played a season of Christmas shows in London until mid-January.[29] The session inaugurated what author Mark Lewisohn describes as "a more serious application in the recording studio" by the group, which included taping rehearsals of each song they worked on and concentrating on backing or rhythm tracks, after which they would overdub more detailed instrumental parts.[5] Everett views the recording as a radical departure for the Beatles, due to the vocals and lead guitar parts being overdubbed for the first time.[30]

The song's main guitar riff was played by Harrison on his Rickenbacker 12-string guitar[31] and was among the parts taped with the rhythm track.[32] Author Mark Hertsgaard highlights the idea for this riff and for Starr's "jagged, whack-and-jump" drum pattern as examples of McCartney's increasing importance as the Beatles' musical director.[33] According to Harrison, however, the Rickenbacker riff was his own idea, based on the way Lennon strummed the chord when introducing the song to the band. Harrison also said that the "staggered" motion of the riff then inspired the pattern that Starr decided to play.[34][35] In addition to Lennon's lead vocal and McCartney's harmony, the overdubs included further electric guitar parts by Lennon and Harrison (on Rickenbacker 325 and Fender Stratocaster, respectively), over the verses, and by McCartney (on Epiphone Casino), who supplied the fills that close the bridges and the solo over the coda.[36]

"Ticket to Ride" topped Britain's official singles chart for three weeks.[45][46] It went straight in at number 1 on the national listings compiled by Melody Maker, where it also stayed for three weeks,[47] and similarly topped Ireland's singles chart in its first week of release there.[48] In America, the song was number 1 on the Billboard Hot 100 chart for one week.[45] According to Billboard's Hits of the World listings for 15 May 1965, "Ticket to Ride" was also the top-selling single in Australia.[49] The US single's face label stated that the A-side was from the forthcoming United Artists release Eight Arms to Hold You, which was the original title of the Beatles' second film,[50] directed by Richard Lester.[51] The title was changed to Help! after the single's release.[45] In the film, the song plays over a sequence during which the Beatles attempt to ski and frequently fall over.[50] The track appeared on the band's 1965 album Help!,[52] which was issued on 6 August in the UK and on 13 August in the US.[53]

"Ticket to Ride" features in a scene in the film Help![61] The Beatles are seen attempting to ski[57] and avoiding a team of assassins from a cult whose quest is to murder Starr. The scene was filmed at Obertauern in the Austrian Alps in March 1965.[62]

On 23 November 1965,[63] the Beatles filmed promotional clips for "Ticket to Ride" and four other songs, including both sides of their upcoming single at the time, "Day Tripper" / "We Can Work It Out", at Twickenham Film Studios in south-west London.[64][65] The films were directed by Joe McGrath, who had worked on Help! as an assistant to Lester.[66] In the case of "Ticket to Ride", the clip was made for inclusion in Top of the Pops' round-up of the biggest hits of 1965.[67]

Against a backdrop of oversized tickets, the Beatles are shown miming to the song, with Starr standing at his drum kit and the other band members sitting in director's chairs.[68][better source needed] Part of the clip appeared in the 1995 documentary The Beatles Anthology. In 2015, it was included in full on the Beatles' video compilation 1.[69]

Writing for Mojo in 2002, musician and journalist Bob Stanley said the track was "where moptop Beatlemania ends and [the Beatles]' weightless, ageless legend begins".[74] In his song review for Blender, Johnny Black similarly described it as a "watershed" recording and attributed its relatively poor US sales to the song's "weird soup of hypnotically chiming, droning guitars, stuttering drums and contrasting vocal textures that, in the context of the 1965 charts, was far ahead of its time".[23] Neil McCormick of The Daily Telegraph sees a darker edge to Lennon's lyric writing during the Help! period and he cites "the drone of riffing, proto-heavy-rock song Ticket to Ride" as an example of the band's more sophisticated sound, and of how the album "contains some of their greatest early songs".[75] Writing for Rough Guides, Chris Ingham similarly views the track as "magnificently brooding" and "the most intense music The Beatles had yet recorded".[76] In his review of Help! for BBC Music, David Quantick includes "Ticket to Ride" among the album's "flashes of brilliance" and describes it as "the song that saw The Beatles take on The Kinks, the Stones and The Who at their own, more rocky game".[77]

"Ticket to Ride" was also included in the set list for the Beatles' 1965 US tour[84] and their UK tour at the end of the year.[64] The 15 August performance at Shea Stadium appears in the 1966 documentary The Beatles at Shea Stadium, although the audio for the song was re-recorded in London prior to release.[85] The group's 29 August performance at the Hollywood Bowl was chosen for the 1977 album The Beatles at the Hollywood Bowl.[86][87]

In mid-1969, the American pop-music duo the Carpenters covered "Ticket to Ride" for their debut studio album Offering. Richard Carpenter recalled: "I happened to hear [the song] being played as an oldie one day in early 1969, and upon hearing it this particular time, decided the tune would make a nice ballad."[88] As arranged by Richard Carpenter, the song became the plaint of a castoff lover, with the opening line: "I think I'm gonna be sad", being sung repeatedly as the track fades.

The song was covered by former Motown artist Mary Wells,[8] a favourite of the Beatles, who had invited her to open their concerts during a 1964 UK tour.[92] Wells' recording appeared on her 1965 album Love Songs to the Beatles.[92] Brian Wilson appropriated part of the melody and vocal intonation from "Ticket to Ride" into the Beach Boys' song "Girl Don't Tell Me".[93] Later that same year, George Martin covered "Ticket to Ride" on his album of orchestral instrumentals titled Help!,[94] producing a version that Billboard's reviewer admired as being "worth the price of the album".[95]

English singer Alma Cogan, with whom Lennon had an extramarital affair,[98][99] covered "Ticket to Ride" in the style of Dionne Warwick for her final album, Alma,[100] released a year after her death in 1966.[101] Vanilla Fudge recorded what Paul Collins of AllMusic describes as a "stoned-out, slowed-down" version of the track for their 1967 self-titled debut album.[102] The 5th Dimension included "Ticket to Ride" on The Magic Garden,[103] an album that, according to Ken Shane of Popdose, "tells the story of a love affair from its rapturous beginning, through trials and tribulations to its end, and beyond".[104] While Unterberger dismisses it as "a misfired cover",[105] Shane describes the song as "a terrific version" that complements the Jimmy Webb-written song cycle that fills the rest of the album.[104]

In Pink Floyd's eighth studio album, The Dark Side of the Moon, specifically at the end of the closing track "Eclipse," a brief orchestral sample of "Ticket to Ride" can be heard faintly in the background on some releases of the album.[110] 152ee80cbc

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